Why are my proxy clips so bright?

[Omri23016964zqam]

Hi all, my footage appears fine when I open it on my computer no problem, it also appears fine when I import it into Premiere, however, when I create a proxy (I have tried about 5 different settings now using default presets and watching youtube tutorials) and then toggle proxies on clicking the toggle proxies button, my image then becomes really bright and flushed like someone turned the exposure up a lot. 

How can I fix this? I can't find anything on the internet at all. 

[Sumeet Kumar Choubey]

Hi Omri23016964zqam,

We're sorry to hear about this. Let us know the source of the original media & the version of Premiere Pro that you are using. If possible, please share a screenshot of the properties window for that media in Premiere Pro.

Thanks,

Sumeet

[R Neil Haugen]

If you'd given us the actual details of the original media, I could give an exact answer. Details of these things matter when you ask people to troubleshoot for you!

But ... from the description, I would guess your original media is either in HLG color space, or is a log-encoded Rec.709 that Premiere is still seeing a HDR ... because while some Rec.709-intended media is log-encoded, most is integer encoded.

And ALL HDR is log-encoded. Premiere's completely new underlying color system has some kinks in it still, and a couple of the problems are perhaps involved here.

• The proxies for HLG clips (and some log-encoded Rec.709 media) do not 'respect' an override to Rec.709 switch command, and are simply HLG/HDR, no matter what the user does. This is an acknowledged bug, and they are working on fixing it, but who knows when we'll see the fix.
• Premiere doesn't respect the override to Rec.709 switch at times with exports/renders, including with some of the few log-encoded media formats it properly displays as Rec.709 on a timeline. So it may be showing say a Rec.709 log-encoded clip properly, but when you make proxies from that clip, it simply creates HLG/HDR clips. Again, acknowledged bug.

I've put a bit of effort in trying to get proxies for HLG media. The only way I've succeeded is to use the Project panel bin option right-click/Modify/Interpret Footage, Override to Rec.709. Adjust Lumetri to get everything within bounds top to bottom, decent tonal range/saturation. Export out in a low-res ProRes as either clip by clip (one clip sequences) or the whole sequence. Reimport and use for proxies.

A right pain. Sorry, but until they get some fixes out, there are some pain points here. They completely, and I mean COMPLETELY, rebuilt the underlying color system in Pr2022. It was Rec.709 "with the ability to work with HLG/PQ data as over-range data" to sorta do HDR. Now ... it's color space agnostic, works fine either Rec.709/SDR or HDR, but ... there are still some broken bits of the new system they're trying to fix.

Neil

[Davo Pearce]

I'm having the exact same issue. Toggling the proxies to my Slog3 footage turns up the exposure so much it's so uneditable.

[R Neil Haugen]

The proxy color space issue is apparently fixed in the current public beta version. You can install that, open the project, create the proxies, and then close. Reopen in the 'shipping' version and it should work.

I don't know when they'll give us another patch for the shipping version.

Neil

[Davo Pearce]

Thank you Neil, you're absolutely right. I will create proxies in the beta version for my projects for the moment.